Laura Jane Grace – ‘Hole In My Head’ album review: bringing humanity to a bigger problem
THE SKINNY: ‘I Can’t Write Left-Handed’, by Bill Withers, is one of the best anti-war songs ever made. In it, Withers talks about someone fighting in Vietnam who has been shot in the arm and is upset because it means he can’t write home to his mother. It’s a great example of bringing humanity and perspective to a bigger problem by focusing on a small detail. Laura Jane Grace achieves the same thing on ‘Dysphoria Hoodie’, one of the leading singles from her new album Hole In My Head.
In ‘Dysphoria Hoodie’, Laura Jane Grace manages to encapsulate the struggles of trans-people, who, when feeling low and don’t want people questioning their gender, turn to a specific hoodie that hides their body shape. This is fantastic songwriting in two parts: as a way to make trans-people feel acknowledged and a means by which cis-gendered people can better understand the ongoing plight of the trans community. I have never fought in a war, but I love my mother. I am not a trans person, but I can understand the themes of self-consciousness referenced. This is the sign of an excellent songwriter and is only the tip of the iceberg on Jane Grace’s new album.
If you are looking for complicated instrumentation and song structure, you won’t find it here. Sonically, this album is as raw as they come; the songs are quick and sharp, and the riffs are inspired by ‘50s / ‘60s rock music. That’s not to say the music isn’t good; quite the opposite. The raw energy, which is vacuum sealed and shaken around on every track, adds to the authenticity and appeal of Hole In My Head.
No word feels thrown away. The way that Laura Jane Grace can talk about different elements of her life, whether that is being transgender, memories of punk or giving love to the city she lives in, are beautifully articulated here. This is the most human-sounding album released in a long time, and it deserves your undivided attention.
For fans of: Tattoos of swallows, ‘quaffing a few ales’, and cutting loose once a month.
A concluding comment from a White Van driver: “Punk music fit for a mad, road trip getaway… like taking the kids to Centre Parks for a weekend.”
Hole In My Head track by track
‘Hole In My Head’: It feels like you’re taken right back to the early days of punk. The guitar riff is packed with energy, the lyrics are layered and exciting, and the end result is higher blood pressure and a smile on your face. [4/5]
‘I’m Not A Cop’: The 12-bar blues riff and opening vocals are fun to listen to. The music is nostalgic, but emotive vocals and modern lyrics of “I’m not a fucking cop cop cop cop cop” drag it into 2024. It’s excellent. [4.5/5]
‘Dysphoria Hoodie’: Laura Jane Grace shows her ability as a songwriter here. Her ability to write about a big topic in a way which is so easy to connect to cannot be understated. [4.5/5]
‘Birds Talk Too’: This is an upbeat song laced with call and response and the perfect track to dance to. It has an old-school tone to the chorus, found throughout the album, which only adds to its charm. [4/5]
‘Punk Rock In Basements’: When a song makes you reminisce on a movement you weren’t alive for, you know it’s doing something right. People may criticise this song for simplicity, but that’s the same as scrutinising a photo because you can’t see around the corner of it. This a gorgeous snapshot of the early days of punk and the beauty that ensued. [4/5]
‘Cuffing Season’: This is a more stripped-back tune, played acoustically but still packed with energy. The lyrics, “If the world isn’t flat / it might as well fucking be / what difference does it make to you and me?” particularly stand out. [4/5]
‘Tacos and Toast’: The album stays on the acoustic plane as ‘Tacos and Toast’ sees Laura Jane Grace talk about her love for St Louis. Her ability to emote with her voice to show passion and enthusiasm is second to none and a joy to listen to. [4/5]
‘Mercenary’: A driving song, if ever there was one. This track’s punchy bassline and gradual progression make it a stunning backdrop for road trips. It has an incredibly catchy chorus, arguably one of the most complex on the album. [4.5/5]
‘Keeping The Faith’: The song almost has a country music element to it; the guitar parts could be from a Western classic, and the descriptive lyrics about beer and an unfolding night seem reminiscent of country. The vocal rhythm is interesting, as too many syllables are crammed into one line while not enough are in another. It has an improvisational feel and adds to the track’s honesty. [4/5]
‘Hard Feelings’: This is another stripped-back song that falls slightly flat. It’s still a lovely track, but in the context of the album as a whole, it doesn’t separate itself from ‘Cuffing Season’ or ‘Tacos and Toast’ enough to stand out truly. [3/5]
‘Give Up The Ghost’: The guitar here is very bluesy, and Laura Jane Grace’s vocals sound more soulful than they do on the rest of the record. It feels like the perfect closing song despite the persistent vocals of “I’m not done.” As the final chord is played and the track ends, so does this gorgeous album. [4.5/5]
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